cbsixty

Hi there, I will be shooting in Italy / Lago di Garda the next few days. Could someone local perhaps help me out frequency-wise? I'll be using my Wisycoms, so I guess I'll be safe, but any hint on which frequency groups to go with is highly appreciated. As we are going to be hiking and therefor being quite packed with stuff, I'd like to avoid too much re-scanning and frequency changes on talents Tx Thank you! Christoph

I actually had that problem a few times and everytime - even if the connection between Microdot and adapter seemed to be tight and perfectly fitting - it was just not connected right. If you have really sorted out that, it should be a simple cable-defect near the Microdot. Had that, too, and it's a quick repair.

If you are not quite shure how often you are going to use your DPAs wirelessly, it is perhaps just easier for the moment to get your rental wireless including suitable lavs. So you don't have to spend that much for some adapters, that just get dusty after the shoot. If you WANT to buy the right adapters, I absolutely recommend the ones from DPA. They are very high quality built and it could happen that you have enough struggle with a lav itself (i.e. if you're hiding it), so a well built adapter would be one less thing to worry about.

Looks and sounds exciting!

I actually never had a DP / AC setting up TC or scratch audio right away. If I handed that stuff to them, I always got it back with the question to do it myself. That's okay for me, as I had confident ACs in the past who claimed to have set up timecode, but in the end only plugged in that lemo... Usually I just tell them I what gear I need on the camera. If they refuse, I report that to production and let them handle it. If they're fine with it, I tell them I definetly need 3-5 minutes for setting it up and ask them to notify me as soon as there's a time slot for that. Works well most of the time. On one long job the 2nd AC asked me (while setting up TC on day 2) to explain that to him, for that he can take care of it in the future. Nice! Regarding TC-Slates: I bring them, set them up and hand them to the cam dep. If they get damaged, it's a production issue. But that never happened so far, as on the shoots I used TC slates the ACs were all professional enough to treat them well. Pushing back on rude camera guys only creates more bad atmosphere. As Philip said: staying calm works best. I had one loooong shoot to lern that lesson.

Curious to get in there, but tickets usually sell out within minutes. I ought to shoot there during the grand opening, but already had another job. Too bad...

The DPA Clips you use are a pain to work with. I got a few and most of them are just too stiff and fiddly, while others (e.g. the white ones) are not that stiff. I like the Sennheiser clips ( http://de-de.sennheiser.com/zubehoer--klammer ). They're easy to use and you can rotate the lav at 90 degree. Only downside: the tiny clip that is then mounted in the clamp is designed for the thicker cable of an MKE2, so you'd have to thicken the DPA cable with a bit of tape where the clip sits. But apart from that it's a good and quick-to-use alternative.

I took it to Zeigermann Audio in Hamburg as I bought it from them and they also do repairs like replacing MicroDot connectors. They then sent it to Denmark, as they couldn't detect the defect.

Holy... Yes, lucky me. I also had two DPAs break next to the capsule. Did not test the Slim yet, but will do next week.

Just a quick update: The 4060 went to DPA, they detected some sort of defect inside the connector. It's back now, connector has been replaced under warranty, which I find to be great service.

Thank you Constantin, I'll definitely try that!

I read the whole topic now and must say: I didn't really understand this infinity-thing. Could you explain it again?

Hi, as title says, I have a DPA 4060 that suddenly died and am curious if anyone has an idea what could have happend. Bought it in july and used it on just about 10 days. It has no kinks or whatsoever, treated more than good, never fell down. The last time it's been in use was two weeks ago with zero issues, it then lived in its box until yesterday. I took it out on a shoot and nothing came out of it but silence. No cable contact when pulling or bending the cable (softly), so obviously not a broken cable. Local dealer tested and declared it "dead, but cable not broken". Tx and DPA adapter problem sorted out, as my other 4060s work fine. I'll contact DPA when I get home from lovely, rainy Malmö, but perhaps somebody on this board has an idea what could have happened. thanks so far, Christoph Have to add: no moisture on last shoot, we've been in a studio.

There has been a light version of Premiere, quite cheap (like 100 Euros), called "Premiere Elements". Don't know, if it's still available, but it's been okay for simple editing purposes.

I do rent out my ENG Kit - which is 442, 416, Senny G3s and a DR60 - to few folks from time to time, provided that I worked with them before and therefore know them personally and the way they treat gear. However, my main setup, consisting of 633 and Wisycoms, stays with me. If I need extra stuff - mostly additional ifb receivers or a stereo setup - I get it from the local rental house or let production get it from them - as they like.

https://www.facebook.com/SchoepsMics/posts/1463691233660005 "Dear friends, please be aware that another shipment from us to the US got "lost" by the carrier. If you get offered inexpensive microphones, be aware that they could be stolen, so make sure to check the serial number first!" Serial Numbers: https://m.facebook.com/notes/schoeps-mikrofone/missing-schoeps-microphone-shipment-2016-10-18/1463653680330427/

Despite I'm usually an OMB - guy, I boomed my first and so far only bigger full length feature last year and that was a good experience. First day, I introduced myself kindly to the DP. Got no response. First shot, I figured a good moment to ask the camera operator / DP for frameline ( he was looking at his phone). He looked at me, made a long pause, probably to raise tension, and replied: "Don't talk to me". Gorgeous start! However, over the 24 shooting days, I learned a lot about how and when to communicate on these kinds of sets. I think I've always been quite good at this, but this production was a hell of a quest. After day three I had a perfect working relationship with 1ac, 1ad, lightning-crew by doing the following: - ask which lens they use instead of "where can I put the boom?" - ask for a quick glance at their monitor instead of saying "show me where I..." - get a feeling for "when" to ask. The moment, the ac is changing lenses or adjusting something in the menue is not the right one. For shadows / lightning: - test it yourself, before asking. If you're not shure about a single light, ask for this one specifically. Try to know the equipment. Like: a question concerning "the four bank above the door" sounds more professional than one concerning "that long, bright thing over there".

Regarding the extensive menue settings of the Wisycoms, I was worried first, that they could be confusing in the field, but you actually get used to them quickly. Took me two days in the field. So far I really like them. Yet I did not get into any challenging situation though.

I just got a few Beyerdynamic DT 2 for my new Sennheiser IFB Kit. Really like them. They are cheap, lightweight, sound quite good and have a single-ended cable, which is a bit long though. I`ve been using them for about two years now, as they always came with a rental IFB Kit. Never got any complaints from clients or directors. Directors use to take Sennheiser HD-25 though, if I let them choose, but I guess that's because they look more professional.

Shastapete: Thanks! Constantin: PM sent.

Hi there, thought I just use this existing Topic for my question: I`m about to order the small Stingray bag for my 633 and am not quite sure, if I should get the Stingray Harness or the waistbelt with it. From what I read so far, the harness is mainly for bigger or heavier bag setups, while the waistbelt is for small setups around the 633. Perhaps some owners can report, if the Stingray Harness would be a bit "over the top" for a 633 with four radios and power distro. I can´t test them as there is no reseller nearby where I live. Thanks! Christoph

I got some of the Ansmann 2850 two weeks ago. They did last about 1,5 days in a Sennheiser EW300, I was quite impressed. We were not shooting the entire time, but I didn't switch them off during breaks. I also got some new black eneloops at the same time, which ran a tiny bit less than the Ansmann.

I worked with the Mini a few weeks ago and the owner of the camera brought the Wooden Camera A-Box ( link posted above by al mcguire), which is a right-angle Lemo to 2 x XLR breakout box. Worked well for me. I heard of a lot of problems with changing lenses while a Lemo Plug is connected, but the camera guys tested it with the A-Box and were happy. They used photo lenses though, but told me they also tested it with Zeiss Primes.

Done! Thank you for this gorgeous and neverending source of knowlege. I learned more than a lot just by reading in here for the last two years.

Me too!